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new bass day!! On Sunday i shal be taking delivery of this beauty im entirely in love with my Sandy TM5 and im hoping this will cure my precision gas once and for all.

The Mrs just showed me this on Reddit, so I found it on YouChoob to share.

I don't move much either. Unless the invisible bear shows up. Blue

New wife for your 50th. What is this 2 bass nonsense?

I'd just replace the string(s)... but make sure the band plays a song while you do that without bass. THEN when you come in, everybody will realise that YOU, THE BASS PLAYER, is the most important member of the band

I wanted to get a bass from my past from when I started learning to play, & the brand of basses that held a sentimental meaning to me for my 50th last August. I grew up in a town in North Wales which had one guitar shop & was a Peavey dealer & also that my, late Father had bought me a 79 T-40 for my 21st back in 1988 so made my mind up for me. So last July I found a 1992 Peavey Foundation on eBay and even though it had the Super Ferrite pickups like the 80's models, the body & headstock shape just were not the same but I bought it anyway. Fast forward to this February and with help from kodiakblair found a 1986 Peavey Foundation in, good condition from a fellow BC member dave.c which ticked all the boxes. An 80's bass from when I was 19 and the thought of turning 50 was a life time away, I miss the 80's plus as bassists I honestly thought we had it better then than now.

About fifteen years ago, I spotted an ad in our local rag: "Experienced lead guitarist and singer (been playing guitar for 15 years in all styles) looking for others to jam with and maybe form a band". TBH I was a bit scared to call the guy (let's call him Dave), seeing as he was clearly far more experienced than me (I hadn't been in a band since school, but then Jimmie quit and Jodie got married....). Still, he sounded ok on the phone, so I arranged to go round to his place the next evening for a jam. When I turned up, the door was answered by a tall freaky guy, who just stared at me. Eventually Dave appeared behind him and said "it's ok John, he's here to see me". We went downstairs to the living room, and started messing about with a few songs. It turned out that far from being an experienced LG, Dave could just about manage a minor pentatonic scale if he looked at his fingers, whilst his singing was really best left in the shower. Also, there was something about him that I couldn't quite square - he was certainly too shy to ever be a frontman, and he sometimes seemed to be in another world entirely, and then struggled to finish his sentences. John, meanwhile, took up position in one of the armchairs, and stared at me continuously. Eventually John got up to go to the loo, and I decided to make my excuses and leave. Dave said, oh, don't mind him - he's got schizophrenia, so it means he's not good with new people. It's just this house is owned by the council for the six of us to live in. We have a care worker during the day, but in the evenings he only comes round if we press the alarm button.......

A few days after the first Gulf War ended, I was doing CSE forces shows in Kuwait & Saudi Arabia. While having pre gig refreshments about a 1/2 mile from the gig (Kuwait), we heard a rather loud explosion. A sergeant marched into the mess, then informed us that the show wouldn't go on. He shouted out at the top of his military voice, with a sh*t eating grin, that the Stage and all the hired equipment had gone up in smoke. Amazingly & stupidly, the Stage had been erected near an ammunition dump, which indeed, had gone up in smoke....You could tell by the look on the face of the Sergeant, that us wimpy musicians, should have gone up with the stage as well. The turn was an Impressionist called Bobby Davro, who minus the band, then offered to tell gags to the troops for some kind of entertainment (no mic - shouting at the top of his voice). He went down a (Desert) storm for making the effort, while we got smashed on some home made wine some French SF's troops had given us. (So, not a complete disaster)

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That is pretty well the shape I want, now Make some holes for the machine heads. I have some but not sure if I have the surrounds for them

BTW folks, heard word from Tech21 on 'that other forum' that the XLR 'is darker' than the main output, as per Dug's specs. Whether this means there is no speaker sim at all on the main out, or just a brighter one, remains to be seen! Just for those folk sending the XLR to the desk and the main out to your FRFR wotsits, you won't get exactly the same tone out of each.

Actually, now you mention it, it might have been in the Meadows and not actually in Clifton. I think the thing those venues had was a) respect for the performer b) the need to put on a show and not gaze at your shoes, scratch your derrière or argue amongst yourselves between numbers

Pahahahahahahahahahahahahahah... *cough* *splutter* *cough* Ahem... Pahahahahahahahahahahahahahah... Nice bass though!

Oi you lot! Get back on topic! I want my dUg pedal!! wa-wa-wa-wa-wa

Thanks all for the kind words & feedback! Looks like it was worth while after all

I use both octaves for very different reasons. the broughton is very much a synth tone generator. its a great sounding OC-2 esque, amazing tracking synth pedal. The aggie serves a different purpose all together.... Its more of a blended octave down copy of the input signal...but the original signal has a lot of the lows reduced, and the octave down has them more pronounced. The GR2 is used almost exclusively with the 2nd mastotron in its loop. Its the core of so many of my sounds because it just sounds fantastic. For funky fingerstyle the Mini Mu is my go to filter as its the fattest/quackiest ive come across yet! the manta is used if i need something more complex for dubstep style `wabs` for example. The bananana hasnt been incorporated into any of my songs at the moment so diddnt make the board. yet!

Nottingham 1973 This is a band audition tale... At my first" day release " at college ( I was an apprentice plumber) I met two guys that wanted to form a band, we arranged to meet at the rhythm guitarist's garage on the following Sunday. It went well enough we just needed a drummer. I volunteered my mate who had driven me and my gear to the audition.....he had never played drums and didn't have a kit but as the rhythm guitarist's father was a resident drummer at a local working men's club, we could use his kit and rehearse in a the fabulous function room that wasn't used on a Sunday afternoons. Sounds like a recipe for disaster yes? ...not a bit of it ,Dave took to drumming like a duck to water, Six weeks after his first go he had bought a kit of his own and we did our first gig...Market Harborough Working men's club, 3x 20 mins sets, with our armoury of 12 covers...and we got paid £29.00, ok we did have a few requests to "play this song again" to get through, but no one complained. This was in the days when even a rubbish band like ours gigged at least twice if not three times a weekend; a half decent band could gig five times a weekend and pick up midweek gigs. We pottered along for six months but the (almost inept) lead guitarist/lead singer just didn't improve, in fact he got all "rock star "on us and kept missing practice without letting us know and turning up drunk for gigs. We decided to replace him, unfortunately everything came to a head at the Friday night gig of a three gig weekend and the Saturday night gig, at a pub in Chesterfield, was an audition for a new agent. Being young and brave we didn't cancel, we phoned around and got a friend, who was in a much better band than us ( they were having a weekend off), who was much more experienced than us, to come and fill in for the weekend. We ran through some songs on Saturday afternoon and everything sounded much better than before, although we needed to juggle the set list to suit his knowledge of songs and hurriedly learned a few of his favourites. When we did the gig things went very badly wrong (what a surprise :-) ) the new guy just point blank refused to turn his guitar up and wouldn't sing close enough to the mic to be heard...we missed all the cues fumbled through a few songs and after the first set decided that he was being a p*ll*ck and told him we would manage without him, we re- arranged the sets ,leaving our best stuff for the last set, and gamely went for it. During the break before the last set the landlord came up to us and paid us saying "here you are lads, don't bother going on again" We packed away in shame and drove home in silence. The new agent never spoke to us and we cancelled the Sunday gig. Rock and Roll chaps......Rock and Roll. Edited to add.... I now tell my kids and friends who complain about me "singing" along to the radio etc... "Hey I have been paid to sing and I have been paid not to sing....what have you done? "

I've used black, white and copper nylons from La Bella. Absolutely superb strings. Smooth, low tension but high gauge so you can really dig in. Last a lifetime. The white nylons remain my string of choice for fretless.

Yep, this is so true. And, at an audition, NEVER tell the keyboard player he's playing a wrong chord - even if it's clearly wrong. You'll never get the gig - you're a threat. And always look for the positives in any of the players in the band you're auditioning for - a couple of gentle favourable comments can work wonders. "Hey, Mr drummer, I like the way you didn't speed up in that number" Wow, that guitar solo was REALLY loud - I love it when my ears bleed like that!"

Wow. Didn’t realise they made these. I had a Battering Ram 2.6 (effectively the same pedal, minus EQ) and had it not been for it’s awkward size and shape I may well have kept it. Very cool pedal and bucket loads of bottom end in the overdrive I found. In fact, it held more low end than any other overdrive I’ve owned, before or since

It's a Wounded Paw Battering Ram Q. https://www.woundedpawaudio.ca/fx/index.php?main_page=product_info&cPath=1&products_id=29&zenid=99a32393a9736460d2ca46ea79dfc03f I don't even like fuzz pedals and this is genius. Truly. Genius. The parametric EQ is great. The distortion in parallel with the fuzz and octave up fuzz is brilliant. Very flexible and just great. In that respect better than Darkglass, but the sound is very different.

t's not going to happen. I'm still trying to get the band to play songs that were written this century. I don't think any of them know what in-ears are.

...in Dobbly, presumably

I'm a devoted Sansamp user. I swear by the thing, I borrow plenty of heads at gigs but the BDI has been my go to more often than not for several years. I borrowed one of these VT heads for a gig once and I've been GASsing ever since. This has replaced my Eden WTX 264 which, while quite a nice head, got used literally once for a rehearsal. When you're playing with bands that'll lend you and SVT-3 Pro, the Eden doesn't really get a look in. I'm very happy with this! The Sansamp stuff is always so warm and musical to my ears, and having a better version of the BDI attatched to a 500w power amp is a match made in heaven IMO.

Of course! And that's what I did too. I was merely anticipating the almost inevitable "on this threads everybody just suggests what they use" Like you say, there's a reason why people arrive at what they use. If I thought that my previous rig was better... it would not be my PREVIOUS rig

@mcnach it’s all you can do really, for each person there is a reason why they settled on it. All we can do is give the OP ideas and he/she has to then explore and mix and match

If you own a Trace then I’d recommmend one of these. One careful American owner.

How big does that rout need to be for the controls though - it's MAHOOSIVE!!!

You should have broken it first...might have got more for it..

We were playing the old Wardour Street Marquee back in the 80s..we'd got a few bars into the first track of the set and a full glass of lager comes flying out of the crowd and smashes on the keyboard which promptly packed up. We struggled on through the whole set without the keys, hating much of it to be honest .... but we were told afterwards that it was the best gig we'd played for ages!

Yup, I get that completely. I have two metronomes - a silly bleeping box that lives in my gig bag for emergencies, plus a clockwork one that I keep in the music room. That gets used a lot. Even when I've got my cans on or am playing louder than usual, being able to follow the pendulum helps keep me in time, even when I'm playing off a score and watching it from the corner of my eye. I got used to that when I played the trumpet; inevitably the blare would drown the click, but following the movement soon became second nature. I used to put it on a shelf above my music stand, so I could see both at the same time. Clockwork metronomes rock!

Jim's Ukulele Songbook at: http://ozbcoz.com/ Downloadable pdfs of maybe 2000+ songs with chords for ukes (inc. baritone), guitar, tenor guitar, banjo, mandolin...etc. Also, online, you can transpose songs to any key you like and download a pdf of that. My first call for most songs. Fantastic free resource.

Actually I'm really looking forward to trying the dUg straight into my Yamaha DXR10 powered PA cab. Aside from my Helix I've not done much direct to PA. This might not only be a great rig on it's own, but also a good backup to the helix.

I call them " people who own drum kits".

Loving these stories. Solid gold. I reckon this is the best thread we've had in ages.

I nearly chewed a finger off reading that one - what a missed opportunity! Perhaps the balance of available musicians was different back then, but drummers who can play with groove and taste seem to be like hen's teeth these days. Maybe I've just had to play with one too many drummers who aspired to play "just like Bonham," by which they essentially meant "going at the kit like a p***ed-off blacksmith," but I've come to find few things more satisfying than locking in with a genuinely good one.

i learn from reading schematics and I learned from this discussion so I will join in the "thank you" chorus also. If I say it again, i will make up for @fleabag not doing do.

Welcome Phill.

Perhaps best not to let him have access to a tambourine then.

Fixed.

I'm keeping myself busy at the moment with this. Bwahaaahhaaa!!

Bass cabs... and especially guitar cabs colour the sound considerably. You have to consider the sound coming out of the modeller to be a recording of your instrument as it would appear on the CD. You wouldn't plug your CD player into guitar amp and expect it to sound as good as a hifi. This is the same... the FRFR takes away any further colouring. If you do want the colouring of the cab, you run a model of the amp without any speaker emulation or IR and let the non FRFR cab add that colouring back in.

Hi all. We at Bassics are pleased to be able to answer bass player's questions directly via Basschat. As a small boutique innovator and maker of bass amplification in England, we hope to gain insights from you Basschatters as well as be here to provide information. No hard sell stuff here, but please realise that we are a small team and are very focused on designing and building our babies, so don't be surprised if it sometimes it takes us a while to respond. Any questions so far?

Reserve judgement until you have heard someone else demo it, all his demos sound the same!

Worth thumbing through; Good Stuff ...

I’ve got it virtually finished just got to string it up and it’s all done I think it looks loads better than the white body In hindsight I probably should have spaced the knobs a bit further apart but hey ho it’s all part of a learning curve I kinda like the Chrome I might no bother changing to Black........

Cheers @dedindi thanks for the kind words. 😊🙏 X

They recovered my fender amp and cab and made new grill cloth frames for me a couple of years ago. Did a first class job and good service.

Update: I replaced the headphone socket with a Neutrik branded one a couple of months ago (5 year warranty ran out in March). The old one was an absolute bugger to remove, I sucked as much solder off the tabs as I could but in the end I needed to incrementally heat the tags and use a plastic wedge to slowly prise the tags out of the holes. Finally got it out (probably took half an hour in total, moving it a fraction of a mm at a time). By comparison, fitting the new one took about a minute Long story short, I have had no recurrence of the random muting since I replaced the socket. It has been driven hard most weeks at band rehearsal and lugged about all this time. Happy to say I call this one fixed. Probably one of the least difficult things to fix has gone wrong after 5 years. Not bad for such an inexpensive piece of kit.